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Review: As the saying goes, "all things must pass". Before laying their acclaimed mix series to rest, 17 years after its inauguration, Fabric has one more installment for us to enjoy: a celebratory, three-disc set from the three men most associated with the legendary London club since its earliest days. Fittingly, disc one is handled by Craig Richards, the long serving Saturday night resident who also mixed the very first volume in the series way back in 2001. While his disc is largely electro-focused, fellow resident Terry Francis mixes it up a little more, joining the dots between tech-house, ballsy techno and more left-of-centre selections. As for Reilly's disc, it's little less than a celebratory, teary-eyed romp through deep and soulful house. So long, and thanks for all the bliss.

Review: The Nothing Special maintain their intermittent attitude to release schedules with the third 12" in as many years, though Sleeping Rough is made that bit extra special (no pun intended) as it's the first time label boss Craig Richards has helmed a plate! The title track's been a much requested production since the revered Fabric resident included it on his Boiler Room set earlier this year; that "drippy drippy" vocal hook which rides the deep, abstract house groove will lodge itself comfortably in your cerebral cortex as soon as you hear it. Alongside it, both "Surgical Changes" and "Verbal Abuse" showcase Richards' production range, adopting a slanted 160bpm pace whilst the stripped down programming ensures there's plenty of space for him to experiment with sound and texture.

Review: Amazingly, it's ten years since Fabric resident Craig Richards' last solo mix CD for the legendary London venue's mix series, and nearly seven since his acclaimed Fabric Tyrant mix with Lee Burridge. This release, then, should be a cause for celebration - not least because Richards' rarely fails to deliver. Over the course of 70 spellbinding minutes, Richards seamlessly moves through the full gamete of tech-house and techno emotions. On the way, he touches on everything from the classic electronica of Two Lone Swordsmen (the still-brilliant "Rico's Helly") and hypno-house of Johnny Fiasco to the Detroitian wizardry of Conforce, space disco of Maurice Fulton and soaring blissfulness of Neville Watson. An essential lesson in the melodic potential of electronic music.

Review: Ignore the title for this latest transmission from Craig Richards; The Nothing Special boss hasn't taken an ill-advised career swerve into hardcore dancehall. No apparently the genesis for Batty One dates back to this year's edition of SXSW where the sound and movements of over 100,000 bats were recorded and turned into music by an alcoholic drinks sponsor using bespoke motion tracking technology. The swarming of the bats triggered unique beats and directed the tone and tempo. Fabric resident Richards was given the results to play around with and three of his remixes feature on this limited 12", with a rigid electro cut on the A Side complemented by two beatless excursions on the flip. Given the concept, it's undoubtedly the strangest record this week.

Review: Given his long-admired skills as a selector and DJ, any new mix CD from Craig Richards is a cause for celebration. His contribution to the Get Lost series from Crosstown Rebels is no different with the CD edition containing a mammoth 37 tracks across the two discs. Whilst it was near impossible for the label to include all these tracks on this accompanying triple LP edition, Crosstown Rebels should be commended for including some of the highlights of Richards two diverse mixes. As such you get some classic early '90s NJ Garage from Black Rascals sharing space with the Mancunian tropics of Ruf Dug, vintage STL, Lowlands electro from Parallax Corporation, classic Kenny Larkin and more.

Review: After Hamid kicked off the H+ label last year he returns with an intriguing double pack that draws on a wide variety of collaborators to turn out some truly innovative leftfield house music sounds. There's an overarching theme of micro house hovering around Methods For The Madness Vol 1, but it's far from run of the mill stuff. The opening cut featuring Josh Tweek is a sparkling, swinging affair that piles on the funk and the delirious effects, while Jesse Morrison's own turn on the closing track winds up in a haunting, abstract slice of refined reduction.